The hobbit series pdf

The Hobbit is a tale of high adventure, undertaken by a company of dwarves, in search of dragon-guarded gold. A reluctant partner in this perilous quest is Bilbo . Please print off and read at your leisure. Page 2. Page 3. Page 4. Page 5. Page 6 . Page 7. Page 8. Page 9. Page Page Page Page Page AN ILLUSTRATED EDITION OF THE FANTASY CLASSIC WITH SIX NEW PAGES OF ILLUSTRATIONS! Tolkien’s The Hobbit is one of the best-loved books of all time. When Thorin Oakenshield and his band of dwarves embark upon a dangerous quest to reclaim stolen treasure from the evil dragon Smaug.

television series), has renewed student interest in the high fantasy of Tolkien's works. Hobbit will be divided into two films with scheduled release dates of. Summary. The Hobbit is the prequel to the Lord of the Rings series written by J.R.R. Tolkien. This novel details the adventure of Bilbo Baggins. PDF.. All about J. R. R. Tolkien's The Hobbit (Playscript) by Patricia Gray. A BBC Radio 4 series The Hobbit radio drama is an adaptation by Michael Kilgarriff .

His creative endeavours at this time also included letters from Father Christmas to his children—illustrated manuscripts that featured warring gnomes and goblins , and a helpful polar bear —alongside the creation of elven languages and an attendant mythology, including the Book of Lost Tales , which he had been creating since These works all saw posthumous publication. Auden , Tolkien recollects that he began work on The Hobbit one day early in the s, when he was marking School Certificate papers. He found a blank page. Suddenly inspired, he wrote the words, "In a hole in the ground there lived a hobbit. Lewis [11] and a student of Tolkien's named Elaine Griffiths. Originally this world was self-contained, but as Tolkien began work on the Lord of the Rings, he decided these stories could fit into the legendarium he had been working on privately for decades. Eventually those tales of the earlier periods became published as The Silmarillion and other posthumous works. Influences[ edit ] One of the greatest influences on Tolkien was the 19th-century Arts and Crafts polymath William Morris. Tolkien wished to imitate Morris's prose and poetry romances, [16] following the general style and approach of the work. The Desolation of Smaug as portraying dragons as detrimental to landscape, has been noted as an explicit motif borrowed from Morris. These include, among other things, a hidden runic message and a celestial alignment that direct the adventurers to the goals of their quests. The latter tale may also have influenced the character of Beorn. Themes from Old English literature , and specifically from Beowulf , shape the ancient world Bilbo stepped into. Tolkien, a scholar of Beowulf, counted the epic among his "most valued sources" for The Hobbit.

Let's put it this way: You'll know if you have the stomach for the heavy-duty world-building at work in "The Silmarillion" if you're still hungry for more after finishing up the earlier books on the list. Professor First, Author Second?

You might say this is a perfect encapsulation of how potent Tolkien's world-building practice was — after having devoted himself to creating Middle-earth for some time already, his newer ideas for smaller, more focused stories could all be supported and informed by the myths, legends, languages and peoples he had already invested in. Tolkien was actually building backwards from the world that surrounded him. Middle-earth is supposed to be our Earth a long time ago, and Tolkien started drafting his grand mythopoeic origin story of our world over two decades before "The Hobbit" was published.

The tale of Bilbo Baggins started as a children's story with little-to-no connections back to his established lore, but in finishing the story for publication Tolkien brought the story into the fold of his "dominant construction," Middle-earth. Before making that canonical link and publishing "The Hobbit," Tolkien essentially spent years making what would have amounted to little more than a curious passion pursuit of a humble Oxford professor had his publisher contacts rejected his manuscripts.

The secret sauce to Tolkien's fiction, both in its literary and commercial appeals, is the depth and detail of the world he created. Getting to "The Hobbit" and "The Lord of the Rings" required that huge investment of time and energy on Tolkien's part, but a reader doesn't need to wade through all of that material to get the full impact. If you've ever been dissuaded from dipping a toe into Tolkien's work because you thought you'd be expected to learn Elvish or know the entire history of the world before popping in on the residents of The Shire, worry not.

Tolkien's authorial genius and generosity are on full display in "The Hobbit" and "The Lord of the Rings" — it's the later, posthumously published texts that prove to be a little harder to engage with. Tolkien to understand the man, you could read "The Father Christmas Letters. He must have poured hours into the letters, each a combination of carefully crafted storytelling, extraordinary penmanship and colorful illustration. Seriously, take a peek at them — they demonstrate the same creativity and whimsy Tolkien brought to "The Hobbit" and "The Adventures of Tom Bombadil.

Thousands of pages of Tolkien's work have been published posthumously under the care of his family, most notably by his third son, Christopher. When J. Huge canonical contradictions presented themselves at every turn, largely because of the fact that the whole canon of Middle-earth changed as a result of finishing "The Lord of the Rings": It was inevitable that "The Lord of the Rings" must alter "The Silmarillion," because having once been — as I have said — an enclosed myth, with a beginning and an end — it now has the vast extension.

And in "The Lord of the Rings" there are major figures who come out of the Elder Days, out of the primeval world of "The Silmarillion"; chief among them, Galadriel.

The Hobbit

So a great deal of writing back would have to be done. But my father being who he was, this writing back would never be a simple thing because he — when Galadriel enters out of "The Lord of the Rings" into the world of the Elves in Valinor new stories begin.

Tolkien " While many fans were excited to receive a finished version of "The Silmarillion" in , they did not spare it from criticism. Setting the differences in style from "The Hobbit" and "The Lord of the Rings" aside, readers accused Christopher Tolkien of having invented too much of the book from whole cloth — a subject that's grown increasingly complex after more and more of J.

The effect of Christopher's editorial decisions are a thorny issue on the basis of constructing a sensible canon alone, but they're also demonstrative of issues that plague any fandom of significant size.

The Hobbit

With "The Silmarillion," Christopher faced the formidable task of presenting a version of his own father's unfinished work that both respected the source material and felt complete. If he had tried to release something like the volume "History of Middle-earth" in the seventies, he would've been skewered every which way by fans of his father's work and by a literary community that at the time was far less interested in legitimizing serious study of Tolkien's work.

In short, Christopher Tolkien was stuck picking between a number of unpleasant choices. There are other slips as well. But Rateliff prints the irst draft, not the irst edition. Two pages later, Olsen confuses the draft and irst edition again. I would certainly call this a turn- ing point. In some ways, it is a better example than the irst two that Olsen proffers, since in those cases, Bilbo hardly had any real choice in the turning.

This would have been a leftover artifact of the original draft of The Hobbit, in which Bilbo kept his way inside Mirkwood with a ball of spider silk. Unfortunately for Olsen, John Rateliff had already published the same interpretation a year before in the revised edition of The His- tory of The Hobbit Rateliff But Olsen deserves full credit for making this clever discovery independently. At times, the analysis feels heavy- handed and the conclusions strained e.

THE HOBBIT (Graphic Novel), by J.R.R. Tolkien

But Olsen does offer good thoughts on several of them. Olsen could have grappled with this and produced something more valuable, but never really gets down to it. He is too concerned with elaborating on the novel plot-point for plot-point. Like a toothless shark, he circles this better prey a few times but never takes a big bite, and so settles for krill instead.

Tolkien and the Origins of The Hobbit is a very different kind of book, different in almost every way. Where Olsen is not at all scholarly in tone or purpose indeed, anti-scholarly; see 3—4 , Atherton is scholarly in both tone and purpose throughout. Where Olsen avoids footnotes and bibliography, Ather- ton offers an abundance. Where Olsen repeats the indings and interpretations of other scholars without acknowledge- ment, Atherton is much better about citing his predecessors.

He will bring up the subject of dragons or possessiveness or Norse sources, for example, and then wander about in and among the plot elements and episodes in The Hobbit—and perhaps more frequently outside The Hobbit—to make generally well-developed and cogent arguments. In fact, I must scold Atherton for his ten- dency to lose sight of The Hobbit, in spite of its being the ostensible focal point for his entire study. What they have in common is that both books seem to add up to less than the sum of their parts.

The hobbit-an-unexpected-journey-book-pdf-free-download

Read together, each comes across better than if read alone. The study is organized, as I said above, into a series of themes and elements. So why do we need Atherton? He does not have a great deal to add on these points. At the risk of quibbling over jots and tittles, I sometimes ind Ather- ton a little too imprecise for my liking. Perhaps he is attempting to shield readers from specialist jargon and other minutiae of historical linguistics, but I often found myself pausing to pick nits.

He omits that the Mercian form Tolkien preferred would actually have been spelled elf. I suppose that really is picking nits, and I should not fault him too much for it, though it would have made his point stron- ger.

And so on. Since such mistakes are or should be avoidable, I must point a few out for unwary readers. Some are obvious. Gordon took his place, earning himself the post when Tolkien stepped down. The bibliography also contains mistakes, for example: Stuart D. First, which smiths? Atherton does not say.

I think he must mean Celebrimbor, but then that is only one smith. Second, and more importantly, the Ring was not forged by the Elves but by Sauron himself, alone and unaided. An important distinction in the story!

A few idiosyncrasies also caught my eye, including some real oddi- ties with the footnotes.

For example, the prefatory pages to Part One contain four footnotes, and the notes for Chapter 1 then begin with note number 5. The same practice is repeated for Parts Two and Three.

Some seem to be misnumbered and some missing. Gandalf ends up fooling the trolls into remaining outside until morning.

The sun causes the trolls to turn to stone, and the group is freed. They discover that the elves had amassed a collection of weapons in their camp. Gandalf and one of the dwarves, Thorin, the dwarf lord, take the magical swords.

Bilbo even claims a sword of his own before they proceed. Gandalf then frees them and leads them to safety, but in the process, leaves Bilbo behind accidentally.

While Bilbo wanders the caves alone, then he finds a gold ring and a creature named Gollum who wants to eat him. Bilbo challenges Gollum to a contest of riddles to determine whether or not Bilbo shall be eaten. Bilbo ends up winning the competition, but Gollum decides he should eat him either way and goes looking for the ring Bilbo has found. Bilbo uses the ring to turn invisible and escape from Gollum and the cave.